從宮體詩到宮廷詩:論南朝到初唐詩歌發展的承與變

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题名:	從宮體詩到宮廷詩:論南朝到初唐詩歌發展的承與變
作者:	李緯質;LEE, WEI-CHIH
贡献者:	中國文學系
关键词:	宮體詩;宮廷詩;初唐;君臣唱和;宮廷饗宴;應制詩;Palace Style Poetry;Court Poetry;Early Tang;Alternating Verses between Emperor and Subjects;Court Banquets;Poems Composed on Imperial Orders
日期:	2024-07-23
上传时间:	2024-10-09 15:18:41 (UTC+8)
出版者:	國立中央大學
摘要:	本論文以梁陳宮體詩至初唐宮廷詩的發展演變為研究對象，筆者整理隋、初唐時期的宮廷詩與宮體詩風的作品並分析相關論點與文化現象，從南朝到唐初皆以宮廷為詩壇的中心，梁陳朝宮廷以華美綺靡宮體詩風為其代表特色，到初唐宮廷創作轉而傾向恢弘典雅。雖然隋與初唐文壇對南朝宮體詩批評頗多，但從許多地方仍可看出宮體詩風的痕跡，如隋煬帝寫過幾首側艷之歌，隋朝的北方詩人都有宮體詩風的作品；初唐宮廷詩雖已不再以女性為主題創作，然在語言、寫作手法與形式仍受到宮體詩的影響，初唐詩承襲宮體詩中對女性形象與情感的描摹，但也跳脫宮體詩悲美的情調，呈現女性更豐富的形象與情緒，賦予詩中女性鮮明的活力與色彩。無論南朝還是隋朝、初唐，都對詩歌進行新的的反省與自覺，「新」與「變」是南朝詩歌發展的主軸，永明體對宮體詩的發展可說是承先啟後的關係，然宮體詩也從永明體發展出不同的風貌。隋至初唐也承襲南朝「新變」精神，試圖從詩歌的形式、內容與風格中發展出當代的特色：在詩作語言題材上漸趨雅麗，並努力實踐梁朝以來所嚮往的「文質彬彬」詩歌境界。　　初唐宮廷詩人的創作接受前朝的寫作手法與形式，同時也開創新的風格及改進詩歌格律，使之簡化且明確。初唐宮廷詩反映當時生活情趣與審美藝術，形成特殊的詩歌文化與風格，這段期間君臣唱和之風盛行，從梁陳綺靡輕豔的宮體詩風到初唐華麗頌美的宮廷詩，延續永明體的聲律變化到近體詩工整的格律，由細膩聚焦的寫作手法到恢弘壯闊的宏觀視角，群體性的創作活動也奠定詩歌藝術與形式的基礎，是唐代詩歌發展中重要的階段。 ;This paper focuses on the transition from the court poetry of the Liang and Chen dynasties to that of the early Tang dynasty. The author has compiled and analyzed court poetry and the associated poetic style from the Sui and early Tang periods, examining relevant theories and cultural phenomena. From the Southern Dynasties to the early Tang, the court remained the epicenter of poetic activity. The Liang and Chen courts were characterized by the ornate and delicate Gongti style, while early Tang court poetry shifted towards grandeur and solemnity. Despite the substantial criticism of Gongti poetry from the literary circles of the Sui and early Tang periods, its influence persisted. For instance, Emperor Yang of Sui wrote several poems with the Gongti style, and northern poets of the Sui also produced works in this vein. Although early Tang court poetry no longer centered on female subjects, its language, techniques, and forms still bore traces of the Gongti style. Early Tang poetry inherited the depiction of female imagery and emotions from Gongti poetry but moved beyond its melancholic aesthetic to present more diverse and vivid portrayals of women, infusing the poems with distinct vitality and color. Both the Southern and Sui dynasties, along with the early Tang, engaged in new reflections and self-awareness regarding poetry. "Innovation" and "change" were the main themes in the development of Southern Dynasties poetry. The Yongming style played a transitional role in the evolution of Gongti poetry, which also developed distinct characteristics from the Yongming style. The Sui and early Tang dynasties inherited the spirit of "innovation and change" from the Southern Dynasties, striving to develop contemporary features in poetry through form, content, and style. The language and themes of poetry became increasingly elegant, aspiring to the refined and harmonious poetic ideal admired since the Liang dynasty. The poetsm of the early Tang adopted the writing techniques and forms of their predecessors while also creating new styles and improving poetic metrics, making them simpler and more precise. Court poetry of the early Tang reflected the lifestyle and aesthetic tastes of the time, forming a unique poetic culture and style. During this period, the tradition of poetic exchanges between monarchs and their subjects flourished. The ornate and delicate Gongti style of the Liang and Chen courts evolved into the resplendent and laudatory court poetry of the early Tang. This progression from the tonal variations of the Yongming style to the structured metrics of near-style poetry, from intricate and focused writing techniques to grand and expansive perspectives, laid the foundation for poetic art and form. This phase represents a crucial stage in the development of Tang dynasty poetry.
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